Photo by: steelgetsreal.com

After a year-long hiatus, Evanescence fans have no doubt been eagerly anticipating the release of the band’s new self-titled album, which finally comes out this week. However, they may be surprised to find the album experimenting with a different sound than the one that originally captured fans in years past.

While a new listener may certainly enjoy the grungy guitar riffs and haunting female vocals typical of the band, devoted fans may notice Evanescence’s attempt to update their sound, no doubt in an effort to appeal to this year’s dance-crazed audience. Songs such as “What You Want,” the single that preempted the album by two months, feature repetitive choruses and a slightly more pop-oriented sound.

The first half of the album still includes a few signature Evanescence melodies, characterized by the classical piano and orchestral strings that have always accompanied Evanescence’s angst-driven guitar and bass. Amy Lee’s voice ranges from eerie to empowered, and her lyrics evoke somewhat clichéd themes of freedom, heartbreak and vast oceans.

The back half of the album is where things start to fall apart. The songs are disjointed, including elements of electronica, rock, metal and even trance—generally uncharacteristic of Evanescence’s past work. The one throw-back is “Lost in Paradise,” a slower number vaguely reminiscent of “My Immortal.” However, the closing song, “Swimming Home,” can only be described as a disturbing example of original Evanescence meets Owl City.

So if you’re feeling nostalgic, or just curious to see how much Evanescence has evolved in the last five years, this album is worth a listen. Just don’t expect a masterpiece or an entirely familiar sound.